Niccolò Paganini and Ludwig Spohr were violin virtuosos who lived at roughly the same time: first half of the 19th century. Paganini was Italian, Spohr German. And both composed music for themselves to play. Not until the early 20th century did there develop a split between the performer and the composer. Until then, they were pretty much one.

The latest CD of Hilary Hahn, a superb violinist of today, proffers concertos by both Paganini and Spohr: the former’s Concerto No. 1 in D, and the latter’s Concerto No. 8 in A minor. (The label is Deutsche Grammophon.) Neither of these concertos is what you might call immortal, but they are certainly worth preserving. Actually, the Rondo of the Paganini is downright famous: puckish, plucky, and fun.

Miss Hahn can let her hair down, as she does in these concertos, but she never lets her standards down. Her playing is both disciplined and musical. She is clean — always — but passionate. I would call her smartly passionate. Paganini’s Rondo is a pure delight. And the Swedish Radio Symphony Orchestra, under Eiji Oue, collaborates admirably throughout the disc.

Clearly, Miss Hahn is a complete violinist: She is justly celebrated as a Bach player, and she can trip through showy concertos with the best of them. But might she revive the tradition of her ancestors? That is, might she compose some pieces for herself to play, one day? Her audience, I think, would be all ears.

BORIS BEREZOVSKY
Piano music of Hindemith

Hindemith’s “Ludus tonalis” is a monumental and ingenious work. Its title means “Tonal Game,” or maybe “Game of Notes.”The work, which is for piano, consists of a prelude, 12 fugues, 11 interludes, and a postlude. As Guy Rickards writes in the booklet of a new CD, “Ludis tonalis” was “intended to be both entertaining and educational,” Hindemith’s “mid-life summation” of the theories and practices he had espoused.

You seldom hear this work, which takes over 50 minutes to unfold. Sviatoslav Richter used to play it, however, and you will find it on CDs, usually paired with Hindemith’s Suite “1922.” That is the pairing on the aforementioned new CD. The pianist is Boris Berezovsky, a Russian virtuoso, who is obviously more than a (stereotypical) Russian virtuoso: His seriousness of mind cannot be questioned.

Nor can his ability. Mr. Berezovsky plays “Ludis tonalis” lucidly, commandingly, and persuasively. In his hands, the work is no intellectual exercise, but musical and beautiful. And he plays Suite “1922” with the punch and pugnacity it needs.

Hindemith’s music has sort of fallen off the radar — Glenn Gould used to champion it, too — and Mr. Berezovsky and his label have performed a service.

‘TRISTAN UND ISOLDE’
Donald Runnicles, cond.

Also from Warner Classics comes a new “Tristan und Isolde.” Wagner’s opera is conducted by Donald Runnicles, and it was recorded live in concert in December 2002 and February 2003. Mr. Runnicles has earned his reputation as a Wagnerian, and he does well with the BBC Symphony Orchestra et al.

In the role of Isolde is one of the most underrated singers of today: the American soprano Christine Brewer. She has loads of talent and a sensational instrument. Like Deborah Voigt, she combines lyricism and power, which is a rare blend. And Ms. Brewer — like Ms. Voigt — makes an outstanding Isolde.

Tristan is sung by John Treleaven, a British tenor. He certainly has Tristan’s strength, but his intonation sometimes falters on this recording. Also, he is prone to straining. Brangäne is portrayed by Dagmar Pecková, an impressive Czech mezzo (Magdalena KoÏená is not the only one). And King Mark is taken by the British bass Peter Rose, dignified, rich, and regal.

I will tell you frankly that I had not quite wanted to sit down with a new “T&I”; we have so many, and this is a poor age for Wagner singing. But these discs are worth it.

An additional word, which kills me to write: Owing to her large physical size, Christine Brewer may be cheated out of roles in the opera house. If that is true, we should be all the more grateful for opera in concert, and for any recordings that may reach our hot hands.

BEVERLY SILLS
‘Beverly Sills and Friends’

Finally, consider Beverly Sills. Deutsche Grammophon brings us a two-disc set called “Beverly Sills and Friends.” And who are those friends? Oh, you know: Nicolai Gedda, Carlo Bergonzi, Shirley Verrett — the usual suspects. The discs feature arias, duets, and ensembles from major “Sills” operas: Massenet’s “Manon,” Donizetti’s “Lucia di Lammermoor,” Douglas Moore’s “Ballad of Baby Doe.”

There is also chamber literature, including Schubert’s “Shepherd on the Rock” (with the esteemed British clarinetist Gervase de Peyer and Miss Sills’s regular accompanist, Charles Wadsworth).

A few years ago, Miss Sills said approximately the following: “People may hear about my career and wonder what all the fuss was about. Well, they can turn to the recordings, to know what all the fuss was about.” Amen.

Young people, especially, may think of Beverly Sills as that jolly lady who hosts concerts on television. But, oh, could she sing — impeccably, dazzlingly, thrillingly. She was a coloratura and musician with every follicle of her strawberry-blond hair. Doubters may consult the CDs that now flourish.